The new film Conclave, based on Robert Harris's bestselling novel, dives deep behind the Vatican's walls, exposing the intense and often murky politics surrounding the papal election. Directed by Edward Berger, whose All Quiet on the Western Front won the Oscar for Best International Film, Conclave transforms the centuries-old process of electing a new pope from a sacred ritual to a riveting political drama, filled with scheming, betrayals, and hardball tactics.
At the center of this cinematic whirlwind is Cardinal Thomas Lawrence, played by Ralph Fiennes, who finds himself undesirably thrust onto the stage as the dean of the College of Cardinals following the death of the reformist pope. The film sets the tone early on, capturing Lawrence's trepidation as he prepares to lead this politically charged conclave, where allegiances shift and ambition simmers beneath the surface.
From the get-go, this film presents the cardinals not merely as holy men but as politicians battling for power. The stakes couldn’t be higher, as Lawrence grapples not only with the logistics of the election but also with the interpersonal rivalries among cardinals. Stanley Tucci portrays Cardinal Aldo Bellini, the likely successor to the papacy, who has grand visions of modernizing the Church, including advocating for the expanded roles of women within its ranks.
The plot thickens with other contenders: the conservative Cardinal Goffredo Tedesco (Sergio Castellitto), who is staunchly traditional, pushes for the return of the Latin Mass, and the liberal Msgr. Joseph Tremblay, played by John Lithgow, who, beneath his calm demeanor, harbors intense political ambitions. Also, making waves is the enigmatic Joshua Adeyemi (Lucian Msamati), the Nigerian cardinal whose rigid views on sexuality clash with the film’s more progressive ideals.
One particularly gripping scene showcases Bellini’s moral quandary as he confronts the prospect of using stolen documents to discredit his rivals. The phrase “I’d be the Richard Nixon of popes” encapsulates the film’s blend of dark humor with its serious themes, presenting cardinals who are as flawed and ambitious as anyone caught within the constraints of rigid institutional tradition.
Adding to the complexity of the narrative are the palpable tensions and suspicions clouding the gathering. Like any good political thriller, secrets abound. Whispers of corruption echo around the solemn halls, each vote holding the potential for scandal. Lawrence is caught between the expectations of his peers and the overarching desire for institutional integrity. This tense atmosphere is underscored by the film’s technical prowess — the production design and sound contribute to immersing the audience fully within the austere confines of the conclave, underscoring the heaviness of both the setting and the stakes.
Berger has adeptly recreated the rituals of the papal election, showcasing the stark reality of the cardinals’ accommodations and the solemnity of the voting process, all of which feels authentic thanks to Harris's extensive research and attention to detail. From the lesser-known practices, such as the seclusion of the cardinals and the ceremonial sealing of the late Pope’s door with wax, to the visible tension generated among the cardinals as they prepare to cast their ballots, the film captures the enigmatic world of Vatican politics.
Layered within all this drama is Sister Agnes, played by Isabella Rossellini. While typically relegated to the background of such narratives, her subtle yet powerful presence offers sharp critiques of the Church's often patriarchal structure. Even though she plays the role of the silent observer, Rossellini's character becomes the voice of dissent at pivotal moments, standing against the tide of male-driven political maneuvering.
The film progresses through complex layers of deception and ambition, leading to gripping tension reminiscent of classic political thrillers like All the President’s Men. Although the narrative is fictional, it resonates deeply with the power dynamics and authenticity found within real-life Vatican intrigues. After all, as Dan Wakin noted from his extensive coverage of papal elections for The New York Times, the unwritten rules governing cardinal ambition often dictate silence over overt displays.
Historically, papal elections have always been tinged with political machinations, whether it be the bribery of the infamous Pope Alexander VI or the ominous shadows of assassination during the tumultuous 16th century. With media presence and outside speculation gaining momentum, observers noted during the 2013 conclave how the scene outside the Vatican felt reminiscent of ancient Roman spectacles, rife with inquisitive pundits and swirling rumors.
Throughout the film, we see manipulations played out around sumptuous Vatican meals, where hints and jabs hint at strategies concerning allegiances and potential betrayals. Here, as in real life, the camera captures the battle-of-wills — can moral integrity withstand the test of ambition?Conclave beautifully dramatizes these tensions as cardinals manage their aspirations under the watchful eyes of their peers, making every vote feel like the last refuge of their hopes and ambitions.
One character whose history adds intrigue is the elusive Cardinal Vincent Benitez (Carlos Diehz), who appears unexpectedly at the conclave after being appointed secretly by the late Pope. His arrival stirs intrigue and suspicion among the existing candidates, especially as they attempt to gauge his political allegiance or possible cover as the unknown card of the Church.
The film's climax unravels with both expected turns and shocking outcomes. The ambiguity surrounding the true nature of institutional power and the stark conflicts between the characters make for refreshing and engaging storytelling. Berger and Harris have crafted not only a thrilling narrative but also grounded character arcs filled with moral weight and urgency.
Conclave taps deep existential questions through the struggles of its characters, especially Lawrence's personal evolution as he wrestles with the concept of faith amid the chaos. By showcasing the pressures of leadership and commitment, the film draws on greater themes of belief, doubt, and purpose, reminding audiences of the humanity simmering beneath these ecclesiastical figures. Like many real-world leaders, they are burdened—not just by the weight of their titles, but by their own insecurities and fears.
The cinematography and direction seek to strip away the divine mystique often associated with such lofty positions, aiming instead to reveal the flawed individuals operating within such sacred institutions. Allusions to current geopolitical divides and historic rifts within both the Church and broader society color the film, making it not merely relevant but socially charged.
Despite some criticisms about the film's pacing and the depth of character development, Conclave stands firm as one of the year's standout projects, showcasing performances from its ensemble cast — particularly Fiennes and Tucci, whose interactions and quiet tensions build to riveting exchanges. While portraying characters who frequently exist within archetypes, the talented cast provides energy and life, shifting easily between the serious roles they inhabit.
Scheduled for release this November, Conclave invites audiences to peer behind the veil of one of the most secretive and consequential events within the Church. With technical excellence and compelling performances, the film proves to be as illuminating as it is entertaining, perhaps prompting viewers to reconsider how they view leadership and faith — both within the Church and beyond.
By tackling themes of power, corruption, and personal faith through the lens of one of the world's oldest institutions, Conclave not only entertains but also sparks dialogue about the state of morality and governance today, leaving viewers with more questions than answers and reflecting on the complex interplay of ambition, belief, and betrayal.
